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Presentation of the artist's past renditions of Unbroken
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Brehm, J., (2006). Luis Miguel Valdez. Magill's Survey of American Literature, 1-6. Biography One of the most influential Chicano playwrights of his time, Valdez created a drama dedicated to social progress and to the full exploration of Chicano identity. Luis Miguel Valdez was born on June 26, 1940, in Delano, California, the second of ten brothers and sisters. His mother and father were migrant farmworkers, and Luis began working in the fields at the age of six. Because his family traveled to the harvests in the San Joaquin Valley, Luis received little uninterrupted schooling. In an interview, Valdez discussed one significant, and ultimately fortunate, consequence of such a disruptive early life: His family had just finished a cotton harvest; the season had ended, the rains begun, but because their truck had broken down, the family had to stay put. Leaving school one day, Luis realized he had left behind his paper lunch bag, a precious commodity in 1946, given the paper shortages and the family’s poverty. When he returned to get it, however, he found his teacher had torn it up. She was using it to make papier-mâché animal masks for the school play. Luis was amazed by the transformation. Although he did not even know what a play was at the time, he decided to audition and was given the leading role as a monkey. The play was about Christmas in the jungle, and the following weeks of colorful preparation were exhilarating. A week before the show was to begin, however, his father got the truck fixed, and the family moved away. Valdez has said of the experience: “That left an unfillable gap, a vacuum I’ve been pouring myself into ever since.” The pang of that early disappointment sparked a fascination for the theater and a wealth of creative energy that was to bring Valdez remarkable success in the years ahead. Despite his intermittent schooling, he won a scholarship to San Jose State College in 1960. There he studied theater history and developed a lasting enthusiasm for classical Greek and Roman drama. His own work also began to take shape, and his first one-act play, The Theft, won a regional playwriting award. In 1965, he directed his first full-length play, The Shrunken Head of Pancho Villa, which audiences greeted warmly. After receiving a degree in English in 1964, Valdez spent several months traveling in Cuba before joining the San Francisco Mime Troupe. In 1965, he returned home to Delano and joined the newly formed United Farm Workers Union under the leadership of César Chávez. During this time, Valdez began fully to explore drama as a vehicle for social justice. He developed a form suitable for his migrant-worker audiences: a short skit, or acto, designed to inspire Chicanos to political action. These actos, often improvised on flatbed trucks for workers in the fields, proved so powerful as political weapons that Valdez’s life was threatened during the grape strike of 1967. Immensely popular with the workers, the actos aroused hostili ...
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Window installation that was site specific at the Mink Building on Amsterdam Avenue in West Harlem for Armory Week.
Gumboot Juba Window Installation for Armory Wk
Gumboot Juba Window Installation for Armory Wk
West Harlem Art Fund
Portfolio presentation
Peter Miller Portfolio Architectural Review
Peter Miller Portfolio Architectural Review
West Harlem Art Fund
Fall newsletter of the radio & podcast show State of the Arts NYC that can be heard on WBAI FM, WBAI livestream and tunein.com. Sharing new partners, events and upcoming guests.
Fall 2016 State of the Arts NYC Newsletter
Fall 2016 State of the Arts NYC Newsletter
West Harlem Art Fund
Background information and details of the radio & podcast show State of the Arts NYC on WBAI FM Radio, livestreamed on wbai.org and tunein.com
State of the Arts NYC Show Description
State of the Arts NYC Show Description
West Harlem Art Fund
Design Trust study done in partnership with NYC DOT
Under the Elevated
Under the Elevated
West Harlem Art Fund
Nicola Lucchi is a doctoral candidate in Italian Studies at New York University. His dissertation investigates an understudied case of Italian industrial architecture, the Fiat Lingotto car assembly plant. Through an interdisciplinary approach, Nicola is mapping the factory’s sociopolitical, cultural, and aesthetic resonances in interwar Italy. During his undergraduate studies in Italy, at the University of Trieste, Lucchi wrote a thesis on the 1949 MoMA exhibition Twentieth Century Italian Art, with a particular focus on the political framework that surrounded the event. Lucchi’s research interests include Futurism, Socialist Realism, modern Italian literature, visual culture, and the cultural rapports between Italy and the United States during the 20th century. Lucchi has written on the visual and linguistic challenges prompted by modernity and postmodernity in the painterly work of Eugenio Montale, and he is completing essays on Bruno Munari’s activity as a graphic designer.
FUTURISM IN ITALY (1909-1944)